The Importance of Composition

ARCHITECT, ARTIST and mathematician L. B. Alberti in his book On Painting explains that composition is the second most important element of painting (drawing being the first). The design systems of the past were based on the profound study of nature, and nature’s obvious and efficient patterns which can be translated geometrically.

Pythagoras (560-480 BC), Greek philosopher and mathematician, was especially interested in how numbers connect to physical reality. His investigations led him to discover the pleasing tones which we call “harmonics” . Pythagoras’ discoveries of the harmonic proportions had a tremendous effect not only on music but on Greek art. 

Every part of the ancient Greeks’ major buildings, down to the smallest detail of decoration, was constructed upon this proportion which became known as the Golden Ratio or Golden Section.  The oldest examples of this principle; however, appear in nature’s proportions, including the morphology of pine cones, sunflower seeds, starfish and sea shells. The Golden Section is thought to offer the most aesthetically pleasing proportion and rhythm.

During the Renaissance the revival of interest in Classical work, led to profound studies of geometry and proportions. The work of Alberti was particularly important for artists of the time. Artists developed different techniques and geometrical design systems and tools to achieve harmonic or aesthetically pleasing compositions. For example, many artists used callipers to calculate and measure the golden section in their designs.

Of course, the use of the Golden Section or any other geometrical system does not guarantee that one’s work will be divinely inspired. Nature, behaves in a logical way and follows precise rules predetermined by its Creator. However, nature tempers the application of these rules with organic and skilful balance.  Thus, the study and application of geometry can contribute to well thought and pleasing compositions. A good knowledge of these rules enables the artist to break them carefully to achieve a sought after effect, rather than painting haphazardly. 

Before I think on the colours and even dare touch a brush, I consider the composition, looking at the placement and size of each element. I play about with sketches and try different options, using a variety of geometrical grids that help me see what the underlying structure, the lines that run through the composition guiding the eye, unseen but yet perceived by that part of our brain which is concerned with harmony, aesthetics and balance. Two of the grids I often use are shown below.

Variation of the Golden Ratio

Variation of the Golden Ratio

Diamond armature of the rectangle

Diamond armature of the rectangle

Welcome Spring!

Where have February and March gone! I was just beginning to recover from an injury to my right index finger (all I will say is:  always look before you shut your car door…). Then after spending a lovely week in the snowed Highlands, I got a cold that seemed to come and go uninvited for over a month leaving me exhausted. Still, I managed to make some progress, completing some small pieces and sketches and I also began work on three larger pieces.

My Caledonian themed portfolio continues to increase this year with two commissions. I’m privileged to be painting a Scottish baroness of utmost delicacy, wife of a Scottish Chieftain. I was also touched to be commissioned to paint a posthumous portrait of Margaret Morris, Lady of Balgonie and Eddergoll which will hang at Balgonie Castle as a companion piece to the portrait I painted of her husband, the 30th Laird of Balgonie.

Finally, I also had the pleasure of meeting Professor Sir Godfrey (Geoff) Palmer OBE in Edinburgh for our first sitting. Prof Sir Geoff, lectured at Edinburgh and at  Heriott-Watt Universities and in 1989 became the first black professor in Scotland. Meeting the professor was a humbling experience. He is such an intelligent and modest gentleman with a splendid capacity to engage in conversation. His achievements go beyond the realm of scientific discoveries and reach out to championing equalities and human rights. It’s an honour to be working on the portrait of a gentleman of such moral calibre.

April is almost here and the spring and summer will surely bring the lovely Northern Scottish light that so much love.

What makes a portrait fascinating

Since the days of Holbein people have chosen to be recorded for posterity by a portraitist. Portrait genre was mastered by painters such as Titian, Rembrandt, Velazquez, Ingres and it thrived in Britain with artists like Gainsborough, Raeburn, Lawrence, Gunn, de Lazlo and Sargent.

What makes portrait painting so fascinating and unique? What are some of the characteristics of great portraiture, which makes some paintings stand out and fascinate the viewer over the centuries?

Human beings incorporate both the general features that characterize all humankind and the particular aspects that distinguish each of us. It is the combination of both, the general and the particular, that gives a successful portrait its substance and appeal.

As far as it is possible, the artist must look not only to the exterior topography of a person, as a photograph does, but also into the inner qualities that influence this topography. Both aspects, when combined, give a more accurate interpretation of a personality and are more conducive to a meaningful representation of the sitter.

On a philosophical level, portraiture is a response to the human inclination to think about oneself and others in its multiple combinations. The portrait artist must balance this apparent dichotomy by becoming a bridge between the subject of the painting and the viewer. Effective portraiture considers these relationships and delivers a clear statement, or at least a convincing analogy between the sitter and the painting.

How successful the artist is in achieving this, is determined by many factors. For one part, it is necessary to have deep knowledge of the craft of painting and the ability to use this to the artist’s advantage. The skilful artist who has a deep empirical knowledge of the craft of painting has a great advantage over the one who does not.

On the other hand, this knowledge must be coupled with the artist’s own sensitivity and perception about the individual and the capacity to express this in a way acceptable and convincing to other viewers.

2015

Here we are already, the year 2015. Another year has begun for each one of us to embrace and value the precious time God has given us, using it wisely, lending a helpful hand to those in need, doing good, loving, seeking beauty, feeling inspired and creating.

How time flies!  The Winter months have been rather mild here in Scotland. We have thus managed to venture out more often than usual at this time of the year, instead of composing ourselves with moments of indoor warmth, solitude and reflection (perhaps more conducive to updating my blog!) 

The last two months have been especially busy.  You will start to see new work appearing in my gallery and some interesting articles posted here.  So I look forward to the year ahead and I hope that this year brings good things to you all.

 

 

Portrait unveiling at Balgonie Castle - Part I

Today my portrait of The Laird of Balgonie and Eddegoll was unveiled at a charming event at Balgonie Castle (where the American TV series "The Outlander" was recently filmed). It was a most agreeable afternoon. The sun welcoming us with a warm embrace while 5 musicians from the Fife Strathspey and Reel Society filled the courtyard air with the most delicate tunes. The event was well attended. It was wonderful to meet many friends, the local press and some dignitaries.

Stuart Morris, The Younger of Balgonie, welcomed guests to the Lundie Hall and invited me to deliver a presentation on the making of an oil portrait in the classic style. I used some projections to illustrate some of the principles of classic oil painting and the approach that I had chosen for this project.

Afterwards, I had the honour to assist The Lord-Lieutenant of Fife, who represents HM The Queen, to unveil the portrait, and there was more to come. The Laird of Balgonie and Eddergoll then closed the ceremony with a lovely speech. His words of recognition were very touching for me and I was honoured again with an appointment to his own household as his official portrait painter.

After the ceremony everybody was ready for the delicious refreshments that were served in the Lundie Hall. We walked and talked around in the sunny gardens, while some people enjoyed the cool shade inside a marquee that was beautifully set up for the event. It was indeed a most memorable occasion.

Please see below some photographs of the portrait and the event. 

The Much Honoured Raymond Morris of Balgonie and Eddergoll

The Much Honoured Raymond Morris of Balgonie and Eddergoll

Mrs Margaret Dean, Lord-Lieutenant of Fife, unveils the portrait

The Laird addressing an attentive audience

The Laird addressing an attentive audience

Certificate of Appointment to the Laird's own Household - Portrait painter to the Laird of Balgonie

Certificate of Appointment to the Laird's own Household - Portrait painter to the Laird of Balgonie

Balgonie and myself holding the appointment certificate

Balgonie and myself holding the appointment certificate

The Scottos under the bright afternoon sun in the Castle's courtyard

The Scottos under the bright afternoon sun in the Castle's courtyard

My son, outside Balgonie Castle, perhaps wondering why these neighbours had not been invited to the party!

My son, outside Balgonie Castle, perhaps wondering why these neighbours had not been invited to the party!

Photos by A. Meredew - 2014 - all rights reserved